William Thomas

The background is more intriguing than the stumbling up-front story, and monster watchers will get full use of the freeze-frame facility.

Humerous, but doesn't gel as well as Levinson's previous efforts.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

Whatever his intentions, the finished product is about as deep and meaningful as you’d expect from a work starring the Man Who Is Clark Griswold. Which is a good thing really, as, uncomplicated, genuinely funny comedy players are thin on the ground at the moment, and it means Memoirs can carry off the semi-slapstick, borderline-cretinous gags with pace and panache.

An insipid '80s nostalgia piece really, held together by Fox's performance and several neat turns from his support.

Kids will love it but adults may find it just too silly to sit through.

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Sex and swearing from David Mamet: the family guy. Fun for grown-ups only.

As a fish-out-of-water comedy-drama, it works well.

Knowingly kitsch, Liquid Sky uses the most basic effects and featuring music and fashion that were cutting edge at the time, it now looks fashionably retro. With lots of sex and violence, it sounds a lot more promising than it is, let down by its poor acting, script and a cast we feel little sympathy for.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

Sweet but predictible angst-ridden Brat Pack outing.

Both leads are likeable and have the cutting neuroses that Brooks delivers so well. They can’t really carry the film until the dramatic plot twist but from then on its all good fun.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

Vice Versa knows its place and, rather than attempting anything oddball, sticks close to the body swap formula in order to gain a decent smattering of laughs. No classic, but a watchable comedy that will find an audience.

Despite the luminous Lombard and the venomous March, this is perhaps better for its idea than its execution.

A comic take on Rear Window, Badham's latest has the acting talent to carry it over the sizeable gulfs in plot to an end product that brings laughs aplenty.

A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

Has cult status now but the plot is fiendishly complicated.

As Lowe systematically dismantles Spader's antiseptic existence, Hanson and writer David Koepp handle the thriller plot well, with Lowe effective as the plastically beautiful but deeply dangerous bad influence of the title.

Typically paper thin, the plot and the morality are blown away by the charms of the leading man and a soundtrack that has been hand-picked to get an audience on side. Unadulterated silliness, but harmless fun.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

A fair-to-middling auto-noir with a hole in the middle roughly the size of its leading man’s head.

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

For Freeman's first feature as director, the end result is enjoyable but given his strong roles over the years, somehow more was expected. The equally powerful Glover gives a memorable performance in an interesting film that will inspire and educate.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

Unashamedly sentimental, but all the better for it.